 The Clarinet BBoard
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Author: Sam
Date: 2001-03-04 19:47
I've noticed that when I basically any notes past the break, there is like a very soft note that sort of comes out the same time as the note I played. It's not an actual note, but it's a noticeable tone. Any solutions to this problem? And don't worry, I've already checked on this site to see if there are any past articles about this. Thanks!
-Sam-
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Author: Dee
Date: 2001-03-04 19:54
There's lots of articles on this on the bulletin board but they may be a little difficult to find depending on what key words you use in the search. Here are some things to check out though.
1. You may be tonguing before you start the air stream. You need to be blowing *before* you tongue.
2. Many people move their jaw slightly when they tongue. This is not noticeable in the low register but is in the middle register and can be a serious problem as you go ever higher on the clarinet.
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Author: Benny
Date: 2001-03-04 20:06
You may be "slapping" your tounge on the reed. You need to touch the tip of your tounge to the tip of the reed for a nice, clean tounging. Also, you might want to try a thicker reed.
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Author: J. Butler
Date: 2001-03-04 22:52
Sam may be refering to a little "hint" of the lower partial sounding. This is not an uncommon problem with beginners just learning the clarion and altissimo registers. Keep the air speed moving. I've heard analogies like "fast air" and "cold air". I even heard one teacher describe it analogous to putting a finger over the water stream of a garden hose, ie. less water, faster stream. Secondly, make sure the tongue is not touching the reed too heavily. I like to tell my students "if the mouth piece were not in your mouth, the tongue would come out directly between the lips". Hope this helps.
John
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Author: William
Date: 2001-03-04 23:58
Try this excercise I learned in college. Start on C above the staff and tongue eight quarter notes (mm=112 approx), first four with the register key--last four without. All eight notes should maintain the high C pitch. Take a breath (if needed), then do the same routine on B, then A, then G and continue down as far as you can, hopefully to middle line B. To be able to do this, you will have to maintain good breath support and arch the back of your tongue (like making a cats hissing sound). The real purpose of this excercise is to develope some "intensity" and focus in your articulative process and get rid of the sub-tone you are hearing as you tongue higher register notes. Don't do this just once and expect immediant results--make it part of your "beginning of practice" routine along with the long tones and scales you should also be practicing. Hope this helps--good clarineting!!!!!!!!!
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Author: Anji
Date: 2001-03-05 12:31
I'm regularly rowing this same boat.
My teacher has me practicing with the 'Double lip" embouchure to develop some stength. This position can be emulated in the standard embouchure by keeping the upper lip taut across the top of the mpc.
And to Paraphrase the inestimable Anthony G, "BTSOOI".
It really takes constant and considerable air velocity.
I think William's exercise would help dramatically.
Try double-lip whilst viewing yourself in a mirror.
You'll get it!
anji
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Author: Rene
Date: 2001-03-06 05:49
This is just to tell you that I had the same problem. It is a short deep woop sound spoiling the attack, the higher the worse. Went a away with practice. Once you have identified a problem, you can at least work on it.
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Author: Gavin
Date: 2001-03-07 07:23
Why don't we all forget about this "break" thing. It doesn't exist, only in the minds of those who want to be afraid of upper register notes not working properly. Forget about the break. Try playing in the lower register and when you can do that properly, without changing anything, almost accidently depress the register key. It should work just the same, unless you have adjusted your embouchure. Ensure that you continue always to use ample breath support. Keep on blowing! Problems commence when you change the way you play just because you're above "the break". What I'm saying is that provided you have adequate breath support and you are doing things properly in the lower register, the upper register should not pose any problem, and most problems in the regard are purely psychological - that is the result of the mental block we create with the notion of "the break".
And another thing, I was taught a valuable thing. That is not to tongue. No I don't mean that you slur everything or that the tongue is not used. I mean don't think of the process in terms of the mechanics of how to do it - ie, the tongue touches the reed etc, but rather in terms of what you wish to achieve - ie articulation. Its not the hitting of the reed by the tongue that is important, its the being able to play a piece of music in a way that makes musical sense. Its just a mind thing, really. Think in terms of results and what you want to hear and achieve, not the mechanics. I hope this makes sense to you as it does make sense to me, and happy articulation to you.
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Author: Ginny
Date: 2001-03-07 16:20
My son and I go to the same teacher (we sit through each others lessons, getting extra knowledge.) He was getting little grunts in the second register. No more. I went through it too, but I don't recall what I did to get rid of it.
She had him say "teh, teh, teh" to help the tongue position, and heh, heh, as well as things that would make the tongue too high or low (tee, tah etc and hee, hay. You might try using a mirror to see if you have extra motion/tension, that will make grunts too.
Double lip won't cure everything, my son was double lipping all the time until lessons with the new teacher. He stopped getting grunts after his first lesson with her.
Try to find a very good teacher who can listen and watch you, and then do what they ask. Ours sees and hears all, and then can mimic us (she actually knows what we're doing wrong!) Best of all she can tell us how to make it good.
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Author: Dee
Date: 2001-03-07 21:43
Gavin wrote:
>
> Why don't we all forget about this "break" thing. It
> doesn't exist, only in the minds of those who want to be afraid
> of upper register notes not working properly. Forget about the
> break. Try playing in the lower register and when you can do
> that properly, without changing anything, almost accidently
> depress the register key. It should work just the same, unless
> you have adjusted your embouchure. Ensure that you continue
> always to use ample breath support. Keep on blowing! Problems
> commence when you change the way you play just because you're
> above "the break". What I'm saying is that provided you have
> adequate breath support and you are doing things properly in
> the lower register, the upper register should not pose any
> problem, and most problems in the regard are purely
> psychological - that is the result of the mental block we
> create with the notion of "the break".
The problem mentioned by the original poster may have nothing whatsoever to do with the "break". It is most likely due to incorrect technique in general that has not yet been identified. While I agree that a person needs to work to get a good low register first as a prerequiste to working on the higher notes, that good low register will *NOT* guarantee a good high register. The low register is quite forgiving and you can have a beautiful tone and good sounding technique but have myriad flaws in that technique. The higher registers will not forgive those flaws and they often are not identified until the student plays these higher notes.
An prime example of this is jaw motion when tonguing. The chalumeau can sound beautiful but the clarion will have grunts and the altissimo will either not speak or be very prone to squeaks. No matter how long the student works on the low register, this flaw can go unidentified unless the teacher is sophisticated enough to look at the physical details of technique rather than just listening to how good the notes sound. All the air support in the world will not compensate for jaw motion either.
The point is that the root cause of the problem must be isolated before the proper corrective actions can be taken.
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Author: Gavin
Date: 2001-03-08 02:49
Dee,
The important words were: "and when you can do that properly".
I don't disagree with anything you have said. Obviously incorrect technique might be highlighted more when attempting to play in the upper register. On the other hand, it may be possible to have correct technique in the lower register but ruin it, when passing the psychological "break", by lack of support, tenseness, or change of embouchure judged to make it "easier" above the "break". The original poster specifically mentioned the "break", and surely its a good thing to get rid of this notion that there is anything particularly sinister about the jump from Bb to B.
As far as I'm aware, the jaw should not be moving, particularly as a result of articulation, where only the slightest movement of part of the tongue is required.
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